Create CINEMATIC Films – A Deep Dive into how you can create Movie Magic yourself

[00:03] How often have you read a post, asking “how can I achieve a cinematic image”… ? 

[00:09] Most answers are usually that 

[00:16] Lighting is certainly very important… but what 

[00:26] I have never seen an attempt to capture and 

[00:31] something like a recipe that might serve 

[00:37] result. And that’s why we set out to create a 

[00:45] See it as a very condensed curriculum of 

[00:51] This will include evaluating gear as well 

[00:58] Watch the screen little Starling

[01:03] If you are here, you are probably someone who 

[01:07] I. Want. That.

[01:11] I want to create these stories and 

[01:15] yet so poetic, and powerful… just… 

[01:20] Every image from the silver screen that 

[01:25] what is the “magic sauce” that makes them so 

[01:30] How can I create those cinematic images 

[01:35] Depending on where you are on your journey, 

[01:39] camera is not… well… cinematic in the 

[01:44] But why?

[01:46] those fantastic actors, sets, costumes, lighting, 

[01:52] history of film that show relatively mundane 

[01:56] yours look… well… they don’t look cinematic.

[02:00] of the camera or is it, what happens behind the 

[02:06] is moved, and how important is the camera itself?

[02:14] maybe it about the codecs, color science, 

[02:20] We are setting out to quantify the different 

[02:25] something like a recipe, or even a shortcut 

[02:31] We are going to evaluate all ingredients 

[02:36] Did we arrive at a point where 

[02:39] We are going deeper into technical 

[02:44] and of course we go into the relevance of 

[02:47] cheap and legendary… we are going to pitch kit 

[02:51] tell the difference or is the lens choice 

[02:57] This episode is kindly sponsored by Dehancer and 

[03:03] can help you to create cinematic images… way 

[03:09] Let’s start by meeting your “Lector” 

[03:13] “breaking the silence”… don’t go near the glass

[03:43] Hi, I'm Barney. He told you, 

[03:47] If you want to now how to create a 

[03:51] but whatever you do, don’t use the term lightly!

[03:55] He’s past the others in cell 667… 

[04:25] Good morning.

[04:27] My name is Clarice Starling. May I speak with you?

[04:29] You are into filmmaking……… aren’t you?

[04:35] I am, yes.

[04:36] You are a student seeking to 

[04:43] Yes, I am a student, I am here to learn from you.

[04:48] Sit… Please

[05:04] Perhaps you care to lend us your view…

[05:07] Nothing… it means absolutely nothing!

[05:14] as having the aesthetics of a film…

[05:22] I’m only asking you to look at this 

[05:27] A director once asked me to 

[05:32] I ate his liver with some 

[05:42] Let's try to deconstruct the meaning 

[05:49] fly… fly… fly

[05:57] This spoof was filmed in my living room and it 

[06:02] the Dehancer film emulation plugin and there is 

[06:08] so stick around if you would like to 

[06:12] Our Lynch and Kubrick members will also 

[06:16] After Effect, as well as some footage 

[06:25] The word “cinematic” describes 

[06:29] Fashion and technology has changed so much over 

[06:34] see a connecting quality in the images.

[06:40] black&white and color, a highly stylised phantasy 

[06:49] Even beyond cinema the term cinematic 

[06:54] to describe “Game of Thrones, Westworld, or 

[07:03] High end advertising and music videos always 

[07:07] fashion of cinema… many fantastic filmmakers 

[07:13] Glazer, and Tarsem coming from that realm.

[07:21] A cinematic image is an image that is 

[07:25] It is somebody else’s vision… and 

[07:29] of that persons imagination… you could say,  

[07:32] it is reality that has been pre digested… 

[07:38] We take on the view of a 

[07:38] We distilled that in the following mantra 

[07:43] “A cinematic image is a visualised memory”. 

[07:48] A cinematic image is beautiful… even if it 

[07:53] it is crafted to be what it is. It is art.

[08:06] PART I: THE BASICS

[08:18] A film is made three times: First in the writing 

[08:25] and finally in the editing. This quote by 

[08:33] Talking to filmmakers you often hear that it is 

[08:40] but paper and a pen will do in then, right? 

[08:44] In a cinematic context, there is obviously 

[08:51] For this episode, we will put the story out 

[08:57] which is just as, and arguably more important 

[09:05] While we are talking about the image here, you 

[09:13] cinema is storytelling… and the 

[09:19] The most important part of 

[09:22] When we say “behind the camera” we 

[09:26] or the crew in a larger context.

[09:31] is always the filmmakers …

[09:34] “you” when we talk about the filmmaker and  

[09:36] what happens behind the camera.

[09:39] create a better image than a bad one, 

[09:39] Therefore, the most important part 

[09:39] improve your knowledge and skill set… and, 

[09:39] It makes a lot of sense to look at simple 

[09:44] to avoid those, but also to help us figuring 

[09:51] let’s get those out of our way, before 

[10:07] This is the first film ever shot… 

[10:12] but with 16 photo cameras that where 

[10:18] Since an early time in cinemas history,  

[10:20] the standard frame rate in 

[10:24] If we play the 16 images at 24 frames 

[10:29] This is not, because there are to few frames.

[10:34] images at 12 frames per second, 

[10:38] This is how it looks when we interpolate frames 

[10:44] What is missing is the motion blur…

[10:46] Here we added motion blur in Post…

[10:49] When filming, every frame should be exposed halve 

[10:54] the most natural looking illusion of movement 

[10:59] This is called a 180° Shutter.

[11:02] Of course one can have a smoother, 

[11:06] by increasing the frame rate.

[11:10] a technical issue, most cameras allow to 

[11:15] but should you? There seems to be more to 

[11:20] There have been experiments 

[11:23] and again over the history of cinema.

[11:27] who is famous for iconic movie like Life of 

[11:33] “Gemini Man” and “Billy Lynn's Long 

[11:38] second during capture as well as during 

[11:42] this doesn’t look bad right here it is a perfect 

[11:47] What you see here is 24frames per 

[11:47] – you guessed it – 24 frames per second. 

[11:47] This is the scene at 24frames per second… 

[11:51] a HDR version with 60fps.

[11:55] it demonstrates the problem.

[11:58] with all other factors that make an 

[12:03] blocking… you name it, there is something wrong.

[12:10] to real. An aesthetic we are used to und 

[12:16] While I totally get Lees approach to 

[12:20] these high frame rate experiments 

[12:25] When we talk about to avoiding high frame 

[12:29] is displayed in cinematic context. 

[12:33] acquisition of slow motion footage 

[12:39] It speak s for the validity of 

[12:43] not based on technical limitation in 

[12:47] than just the viewing habits we mentioned.

[12:49] but about the motion blur that comes with 

[12:51] that leaves our brains enough room to interpret 

[12:57] The combination of 24fps with 

[13:03] 25fps or 30fps will not look vastly 

[13:10] watching 24fps movies on a NTSC TV at 

[13:15] looking quite cinematic. When modern TVs 

[13:25] rate, it ruins the cinematic look… 

[13:34] Importance to cinematic image: Very high

[13:37] The further we strive from 24fps we 

[13:43] If your camera can do 24fps, and it doesn’t 

[13:49] it. You can use the shutter angle to compensate 

[13:57] to the 180° shutter rule as possible, 

[14:04] You read it a hundred times on the usual 

[14:10] stay sharp wide open, is it sharp edge to edge. I 

[14:19] Almost everything you every saw in 

[14:24] This has a lot to do with technical limitation, 

[14:30] digital acquisition and 4K projection.

[14:35] but it is not overly sharp, because it 

[14:40] Many of your favourite movies were 

[14:44] meaning that the digital negative was 2.8K 

[14:50] Most people these days use hybrid cameras 

[14:50] that means they are designed to look 

[14:50] leaving away the OLPF that makes 

[14:50] The result is an image that is much 

[14:50] are used to in the analog realm.

[14:50] cine cam like the Alexa that has a 

[14:50] With a very sharp lens designed 

[14:51] this will result in an image that is unpleasantly 

[14:51] With digital imagining in cinema it is a lot about 

[14:51] but just using blur doesn’t look great either 

[14:51] it can reduce the films resolution in the 

[14:51] Importance to cinematic image: High 

[14:54] In the sense that that there shouldn’t 

[14:59] Always switch off all sharpness enhancing 

[15:05] unless you really have a good reason to do so.

[15:12] as the chosen process doesn’t 

[15:17] Consider to reduce detail and resolution by 

[15:24] or detuned lenses. You can also 

[15:29] without making the image look to 

[15:34] Resolution in distribution is a 

[15:38] not so much because of the resolution 

[15:43] platforms like Netflix and YouTube allocate 

[15:49] Rather than the amount of pixels the higher 

[15:55] better. Upscaling to a higher resolution 

[16:02] Now that we got some basic “no no”s out of our 

[16:07] Let’s start with what seems to be a super 

[16:13] lenses, and all the tools to put these into the 

[16:24] Until the rise of digital acquisition in cinema, 

[16:29] about the image. The image itself was created by 

[16:35] suppliers of stock – Kodak Eastman being the major 

[16:40] to color balance and various sensitivities. The 

[16:45] decades, meaning that higher ISO film with less 

[16:52] very detailed … 1976 Taxi Drives look considerably 

[16:58] nice master, it is mostly the chemistry 

[17:03] As the negative was the limiting factor, 

[17:07] as possible” and not shot wide open unless 

[17:14] Of course there were different film formats 

[17:17] over the decades, to many to go through 

[17:21] roundup in our “SCOPE Chapter One if you are 

[17:29] dominant format was and is 35mm film 

[17:34] Techniscope, and Super35 that simply use more 

[17:41] Besides the stock, Cinematographers could create 

[17:47] different lenses and filtration, and different 

[17:52] Film stock is said to offer a dynamic range 

[17:57] chemistry… and that is a lot. More than most 

[18:03] clip late and the rolloff looks beautiful… on 

[18:09] standards and under exposures quickly 

[18:14] as having a resolution of about 4k, but that is 

[18:20] 4K scans are more about preserving the 

[18:25] perceived resolution. The resolution 

[18:29] exceeds the theoretical resolution of a camera 

[18:33] further degraded in a cine process requiring 

[18:39] A digital 2K image has arguably enough resolution 

[18:45] which is why it was the preferred resolution 

[18:51] Analog TV cameras and Camcorders had 

[18:56] resulting i a very different look. Emulating 

[19:02] for filmmakers including things like 

[19:06] very carefully to stay within the 

[19:10] This brings us to to the digital  

[19:11] revolution in cinema… or i it an 

[19:16] Here are some important steps in the 

[19:21] The first cameras that where used in cinema 

[19:25] for broadcast, where Sony CineAlta cameras 

[19:31] in camcorders… requiring special lenses 

[19:36] Attack of the clones was pioneering here. The 

[19:42] details … but the practical advantage to see 

[19:47] review takes without having to wait for 

[19:53] 2002 brought the Thomson Viper Camera 

[19:59] This camera was David Finchers digital 

[20:03] some scenes of “The Curious case 

[20:10] 2003 the first cinema camera with a single CCD, 

[20:17] similar to 35mm film allowed the use of regular 

[20:24] score major credits in cinema except for a 

[20:31] In 2005 the Panavision Genesis took the crown 

[20:37] let crew review the shot material, taking 

[20:42] production – According to Fincher, that was the 

[20:48] The Genesis was rebranded and 

[20:54] Also in 2005, Arri introduced their first shot 

[21:01] few credits, but among them is Guy Richies 

[21:08] 2007 was the year that red introduced the RED one. 

[21:14] the Genesis made digital cinema accessible main 

[21:20] probably due to reliability issues, 

[21:26] 2008 brought the Silicon Imaging 

[21:31] cam with detachable head. It was used 

[21:36] less attention filming gorilla 

[21:40] in 2010 Arris release the Alexa, 

[21:45] scale. According to many working DoPs, 

[21:50] quality of 35mm film - technically speaking 

[22:00] Melancholia was one of the first credits of 

[22:05] of this movie where shot digitally, 

[22:09] camera… the VisionResearch Phantom.

[22:17] Dragon, Helium, and V-Raptor have their 

[22:22] Fincher likes RED – he shot all of his films 

[22:27] Still, the cinema mainstream clearly 

[22:32] In 2012 the Empire tried to strike back and 

[22:40] It took five more years for 

[22:42] share with the 2017 release 

[22:47] Arri themselves entered the 4K Full 

[22:53] Since then, there where evolutionary steps 

[22:58] market significantly – except maybe 

[23:04] like 70mm and IMAX mostly thanks to 

[23:10] Meanwhile the high end cine cameras 

[23:14] end market and mirrorless cameras.

[23:18] few major player left in the competion with a 

[23:24] to the majority of camera manufacturers.

[23:29] up to high end Cine Cameras… the sensors are 

[23:35] Mostly Bayer CMOS technology delivering 

[23:40] It is amazing how indistinguishable 

[23:45] glance and in the final result.

[23:50] that even a decade old digital cinema 

[23:55] There are a ton of subject that are 

[23:59] Rolling shutter versus global shutter, 

[24:04] mention practical aspects that can 

[24:09] But we want to stay focussed on the cinematic 

[24:15] aspects that are most relevant to that.

[24:21] we know this will come up… let’s start with the 

[24:30] You often hear the notion of a “large 

[24:35] No format has a specific look. A large format 

[24:41] as long as equivalent lenses are used. Of course, 

[24:48] format v or a deep DoF with a smaller one 

[24:53] but in a cinematic context that hardly ever 

[25:02] With analog formats, a larger negative was and 

[25:09] resolution in larger projections. IMAX requires 

[25:15] it is designed to fill the peripheral view of 

[25:21] If you frame IMAX like a normal film, you 

[25:26] you a “first row” cinema experience.

[25:31] uses large formats up to IMAX because only a 

[25:37] quality to smaller digital sensors while still 

[25:40] it is a good story to use IMAX and Nolan is a 

[25:47] Digital formats are different as they 

[25:50] smaller sensor can potentially outperform 

[25:56] Sensors are bound by physics, though. 

[26:00] increase the resolution without running into 

[26:04] This is why a tiny sensor will never 

[26:09] to a large format… unless the 

[26:13] Sensor sizes are very much about 

[26:18] For our use case in a cinematic 

[26:22] neglectable – Micro Four Third, Super35, 

[26:23] Danny Boyles upcoming “28 years later” 

[26:28] that is, if you pull every trick in the 

[26:33] practical… while being 15 years old, Alexas 

[26:40] Importance to cinematic image: Low

[26:47] RED has been pushing the importance of 

[26:52] revolution. Filmmakers like David Fincher 

[26:57] their style of filmmaking, and it makes 

[27:01] with a sensor that has a high resolution.

[27:07] route. The ALEV III was specifically designed 

[27:08] that is not requiring very high resolutions.

[27:10] 3.4K, and it only has that when shooting 

[27:16] Most things you have seen and loved 

[27:20] 2K master… and it looks great.

[27:27] every bit of quality out of the ALEV III 

[27:34] Looking at what the old Arri Alexa can do,  

[27:37] it is very hard to argue for missing resolution… 

[27:43] The Revenant mixed images shot in different 

[27:48] Alexa 65 uses 3 fused ALEV III for 6.5K. The 

[27:58] What you see here is a big resolution different 

[28:04] you can’t identify which was which by just looking 

[28:13] Our “The Killer” masterclass was shot on in 3.4K 

[28:19] 8K RED V-Raptor… the crop is probably around 

[28:27] The high end sector cared little about resolution 

[28:32] “real” 4K acquisition for their own productions… 

[28:39] Netflix movie: The Ballad of Buster Scruggs was 

[28:50] Arri kind of gave in to the markets 

[28:54] in 2018… two fused ALEV III sensors 

[29:00] same proven colors, codecs, and workflow.

[29:03] a cinematic context, and a higher resolution on a 

[29:03] sensels… that is a pixel on a sensor. That again 

[29:03] It makes a lot of sense to weigh 

[29:03] that come with high resolutions.

[29:05] require the ability to punch into the image a 

[29:11] Of course and as always… the technology 

[29:15] and there is nothing wrong with high 

[29:19] Importance to cinematic image: Low

[29:26] One of the specs that is very often stated as the 

[29:31] Dynamic Range. This means the difference between 

[29:39] “clips” and darkest parts of the image before 

[29:45] The difference in-beetween values 

[29:49] doubling or halving the amount of 

[29:58] The Thomson Viper used in Zodiac 

[30:02] stops. That is a bad performance by today’s 

[30:11] These scenes from 2014s “It follows” have 

[30:16] an Arri Alexa that has over 14 stops dynamic 

[30:22] the huge difference in dynamic 

[30:27] Here is something in the same mood we 

[30:32] This proof that dynamic range is a lot about 

[30:37] great values to create a cinematic image. Still, 

[30:43] off” better, so transition into the midtowns 

[30:50] A larger dynamic range allows to capture images 

[30:56] like with windows in a dark room, without having 

[31:01] A better dynamic range can also make exposure 

[31:07] exposure in post, or to create High 

[31:12] Looking at an image straight out of the 

[31:16] the first noticeable differences between cameras.

[31:22] the dynamic range, is to use Dual Gain Output or 

[31:29] with different gains at the same time. These 

[31:34] You have the expanded dynamic range of 

[31:39] DGO sensors are found for 

[31:43] the Ursa 4.6K, and some Canon Cine Cameras.

[31:50] they need more power to work and better cooling.

[31:55] normal sensors are good enough and even cameras 

[32:00] Cameras from all classes including hybrid camera 

[32:06] There haven’t been huge jumps in what dynamic 

[32:12] exception of the Alexa 35 that is what happens 

[32:18] As dynamic range is such a sought after spec, and 

[32:22] range manufacturers can be kind of spin doctors.

[32:28] that measures Dynamic Range and Latitude 

[32:32] provide numbers that make cameras comparable.

[32:37] website comparing most important camera in the 

[32:44] They where so kind to allow me to use 

[32:48] you so much Cine D … there is a link to their 

[32:53] discussions in the description. If 

[32:59] Importance to cinematic image: Medium

[33:02] Keep in mind that dynamic range is not everything… 

[33:08] cinema cameras with limited dynamic range, and 

[33:13] Phantom only sport about 10 stops dynamic 

[33:18] a Phantom and even with the difficult lighting 

[33:25] There are many other technical aspects 

[33:30] Colors & Latitude, Sensitivity & Noise, 

[33:36] Depth … but we want to keep such very technical 

[33:41] we can do that in a sequel to this one.

[33:43] condensed practical advise.

[33:47] camera you are using is offering and a LOG 

[33:55] will provide you with a digital negative that 

[33:59] in post. Something that most movies do these days.

[34:06] what looks good, and what is 

[34:10] This is true for exposure as well as focus.

[34:13] underexposed, expose according 

[34:30] Even with different formats, variations, 

[34:37] close to each other in terms of image quality.

[34:43] is a fair ask: does the camera even matter 

[34:49] in expensive cameras, or is there a more 

[34:56] As usual there is no short answer 

[35:01] as valid as they where since the dawn of 

[35:07] weight, codecs and many other aspects strongly 

[35:15] To test the subject, we prepared a shootout 

[35:20] before we go there, we have to 

[35:23] are an important ingredient in our magic 

[35:28] Cine lenses are important for filmmaking… but 

[35:35] Should you invest in cine lenses… are vintage 

[35:42] even use the kit lens the came with your camera.

[35:52] In our shoot out, we put that to the 

[35:59] Talking about the character of lenses is 

[36:05] subjective and and often depends on circumstances 

[36:12] Competing manufacturers try to strengthen 

[36:19] Claims that lenses “make the whole world 

[36:28] Cine lenses provide practical and technical 

[36:35] lenses have certain looks… but that is mostly 

[36:41] delivers a “cinematic look” besides maybe 

[36:50] Historically the choice to shoot 

[36:54] or Angeniaux lenses had little to do with the 

[37:01] Cine lenses are optically not “necessarily” 

[37:09] Cine lenses have been specifically designed for 

[37:14] nutshell this means that they are fully mechanical 

[37:19] focus, Iris, and zoom for motorisation and the use 

[37:25] much longer than on a photo lens… especially 

[37:29] throws so the servo motors can focus quicker.

[37:34] not always given, depending on the specific cine 

[37:40] of the gears and the same front sizes for quicker 

[37:46] change their lengths which is bad for Matte Boxes, 

[37:51] so the lens doesn’t have the subtile focal 

[37:57] Traditionally cine lenses are build 

[38:01] requirements and to allow easier servicing.

[38:06] mount systems of the cameras of their 

[38:10] collimated and shimmed to have precise makings.

[38:16] wouldn’t see the image that an analog camera 

[38:21] the optical viewfinder for framing, but not the 

[38:27] video systems in the viewfinder wouldn’t deliver 

[38:33] pullers used tapes and markings to hit the right 

[38:39] is hard to do and requires a lot of experience.

[38:44] many old and even relatively modern 

[38:48] out of focus… sometimes because the subject 

[38:55] If the distance markings on the lens were 

[39:00] shimming on the lenses as well as the cameras 

[39:05] You can imagine that using normal photo 

[39:11] Digital cine cameras changed that 

[39:15] work visually by using monitors, focus 

[39:20] This makes correct markings less critical, 

[39:25] shimmed. When we change the mount on the camera 

[39:31] down the drain – you just don’t really notice 

[39:37] peaking. This is why cine mounts and lenses 

[39:41] and tools to adjust the back focus precisely.

[39:49] the sensor to determine the focus distance, 

[39:55] Today, most new cine lenses are designed 

[39:59] trend to lighter designs optimised for 

[40:04] For a filmmaker today, the relevance of 

[40:09] aspects. Pulling focus on a shot, especially 

[40:14] much easier with the right cine lens and a 

[40:19] the eyes of the audience to what matters. No 

[40:24] and the mood of what you are filming Of course you 

[40:30] but it is cumbersome and the missing hard 

[40:34] memory to where the focus distance is at what 

[40:41] with hard stops and work much better with added 

[40:46] this is what makes them a popular 

[40:50] Most modern lenses are designed 

[40:53] and clear as possible, and there is nothing 

[40:58] lens, as it doesn’t add anything to the image.

[41:04] vintage and anamorphic lenses had a revival. 

[41:09] and “flaws” like optical aberrations, 

[41:14] and sharpness falloff lending an image a poetic 

[41:20] vintage lens families. The Contax Zeiss vs 

[41:27] and the Canon FD versus the K35 following 

[41:34] more. Anamorphic is a whole world to explore and 

[41:42] exploring the history, technology, and fashion of 

[41:48] testing modern anamorphic cine lenses, check out 

[41:53] Finchers The Killer using anamorphic cine 

[41:57] rehousing a photo lens to a cine lens… we have 

[42:03] interesting insights including, how to evaluate 

[42:10] Importance to the cinematic image: Medium

[42:15] to play with all kind of lenses to get a feel for 

[42:23] It may make sense to look into filtration 

[42:28] While you can add a very personal note 

[42:33] cinematic image with any lens.

[42:38] is more important to you, and maybe to other 

[42:45] Having said that… practical aspects are 

[42:51] or just to improve storytelling 

[42:55] and, if you have been on this channel, 

[43:10] The first contender in our shout out 

[43:13] the legendary ALEV III sensor inside an ALEXA 

[43:19] size Alexas are huge and heavy… but the M version 

[43:25] to be tethered with a fibre cable to a full 

[43:31] which was Arris denomination for their 

[43:36] featuring on board RAW recording with 

[43:41] allowing to record in 3.4K instead of the 

[43:47] was originally intended for 3D rigs but also 

[43:53] and whenever light weight cameras came in handy.

[43:59] normal Arri Alexa XT delivers… so you can 

[44:04] Blade Runner 2049 to see what this camera 

[44:10] XT-M a lot to be able to get the “up and 

[44:15] the movie… shots that would been hard or even 

[44:21] As the Alexa 65 can’t be over cranked, The Alexa 

[44:29] The XT-M was also used for many scenes in 

[44:34] some of the very dynamic shots in the battles 

[44:40] in Skyfall for some shots… for example the 

[44:45] Roger as this BTS shows… and, there is the M 

[44:51] ideal camera as we didn’t have to invest 

[44:56] and even Gimbals are strong enough to 

[45:01] sized Alexa. Our version of the XT-M has 

[45:02] helicopter gimbals and unlike the normal SMTP 

[45:02] so we power the head with either a power cable or 

[45:02] is super light but doesn’t have the sturdiness 

[45:02] some tricks it is workable and can be a s long 

[45:02] The camera has exactly two buttons… one 

[45:07] to run and stop recording.

[45:10] of liberating. It reduces your process to 

[45:16] A bit of rigging makes the 

[45:19] the Alexa Mini camera and it has some advantages. 

[45:22] It can record open gate uncompressed RAW up to 

[45:30] Most Ms have been used on helicopters – like ours 

[45:36] Ours came in with 500 hour which is nothing 

[45:43] We added the DJI focus pro to give the head auto 

[45:52] We have a whole episode about the Focus Pro 

[45:52] Of course it comes with a ton of quirks you 

[45:52] out on the head and especially XR cards 

[45:53] record audio in RAW modes, so you have 

[45:53] If you are thinking “practical” this is NOT it…  

[45:57] this camera is like a classic car and as such you 

[46:04] boy… if you drive it… it is something.

[46:09] Operator… this is a very affordable way to 

[46:14] 6.000 USD makes the Alexa the highest end 

[46:21] We decided to do a litte extra 

[46:21] How we are rigging and working with it. And 

[46:21] the XR cards with our own modern media. For 

[46:21] tutorial on how you can do that yourself.

[46:21] episode, so, if you are interested subscribe 

[46:21] ready. If it is already out… link is 

[46:21] Our second contender is the Kinefinity MAVO LF 

[46:28] Full Frame cine cam. The MAVO is and has been 

[46:37] and boy did it have to take a beating, including 

[46:43] other things that are quite dangerous. It is 

[46:48] failed us… even under those circumstances. The 

[46:54] delivers amazing sensitivity… using back 

[46:59] with 10.000 ISO. A very practical surmount 

[47:08] it comes to lenses… PL, LPL, EF, E… just go for 

[47:11] internal ProRes up to 4444XQ, at about about 

[47:18] options… a strong OLPF, SDI, timecode, genlock, 

[47:25] work horse perfect for productions like ours.

[47:29] hasn’t really penetrated the western cine 

[47:29] lists a MAVO LF mark 2 body at 9.000 USD

[47:34] Our third contender is the Panasonic LUMIX S5IIx a 

[47:41] it is the the entry level full frame option in the 

[47:47] features like ProRes 422 to an external SSD 

[47:54] with an L mount that is very versatile.

[47:59] Panasonic has a great track record for making 

[48:04] has very good PDAF auto focus and an amazing 

[48:10] anamorphic modes, V-log, Full size HDMI out…

[48:13] angle option. FX3 users had to wait three years 

[48:13] upgrade… Unlike the FX3 it can record video in 

[48:19] glory internally in h265 420 on two SD cards 

[48:27] It doesn’t have an OLPF so it is very sharp… great 

[48:34] Still, If we need something that basically shoots 

[48:40] S5IIx is our go to camera at the moment.

[48:45] it is the most affordable and 

[48:48] The image is great for a camera in 

[48:52] to see if it can compete with the over four 

[48:58] A camera is nothing without a lens… In 

[49:03] lenses with the DZO Arles, vintage photo 

[49:10] Anamorphic lenses with the DZO PAVO, 

[49:15] there is the most uncinematic lens 

[49:21] We purposely chose to shoot something relatively  

[49:24] mundane as we don’t want to distract 

[49:28] I simply walk through the studio and different 

[49:33] light, to back light to top light the camera.

[49:39] but with different cameras and lenses tossed up.

[49:42] The rules for our Shootout are as follows.

[49:44] We are shooting all cameras with the best 

[49:49] That is H265 on the LUMIX,

[49:56] and uncompressed ArriRAW on the Alexa.

[49:59] that is possible. Dehancer will help us with that 

[50:00] The practical light and the shadows should tell 

[50:00] even that is besides the point.

[50:02] and try to guess which camera with what 

[50:06] you to decide for yourself, which 

[50:11] or if there is any such distinction at all.

[50:16] lens combination for the fitting 

[51:29] Let’s go…

[53:24] Did you get diffrent cinematic 

[53:27] And, if yes… how much of that was 

[53:31] and how much was that from the lens choice.

[53:36] We will finish up with a side by side 

[53:42] kit zoom next to the Arri Alexa with 

[53:47] say which is which on a larger display, 

[53:51] is worth it for you – and if you can’t, 

[53:57] Importance to cinematic image is medium

[54:03] higher end camera, sensors, and codecs 

[54:08] an image is little. Every modern camera is more 

[54:17] We still voted the importance at medium, because 

[54:24] process… this will include things like 

[54:30] To be very clear, there are many reasons 

[54:35] they are built to fit the workflows and the 

[54:41] it really helps if crews and DoPs are used to work 

[54:49] And, if something goes wrong, there is usually a 

[54:55] For independent filmmakers these 

[54:59] If you want a cinematic result, the 

[55:18] It is very obvious that what happens before 

[55:24] more than the camera or the lens for sure. This 

[55:31] the costumes, the make up, the lighting……… and 

[55:37] is what tunes you into the feel of the image.

[55:44] with a truckload of lights and a large crew, but,

[55:50] living room or backyard will always look kind of 

[56:00] Let’s start with simple things every 

[56:42] A charismatic face and captivating performance 

[56:49] as everything else… actors allow the audience 

[56:58] As a filmmaker choosing and communicating with 

[57:05] are as many approaches, needs, and styles as 

[57:13] difficult and – There is no lack of horror 

[57:18] a movie. Tension can be the anvil on which 

[57:24] many examples for difficult work relationships 

[57:31] collaboration can do the same thing. 

[57:36] who he is and what works best with a 

[57:43] From Method acting to the Stanislavski's method… 

[57:51] From a filmmakers perspective there are techniques 

[57:58] In American Psycho Willem Dafoe plays 

[58:02] towards the protagonist. Sometimes 

[58:09] sometimes he is ambivalent, and sometimes he 

[58:17] guilty prey. His attitude switches often 

[58:23] shot – This leaves the protagonist as well as 

[58:29] Director Mary Harron had Dafoe play each 

[58:34] only one believe state… and edited the different 

[58:41] If you never heard of the Kuleshov effect, 

[58:42] for every filmmaker and every actor.

[58:44] phenomenon by which the audience derives 

[58:49] acting itself… Alfred Hitchcock understood 

[58:55] Jimmy Stewart's performance was shot without 

[58:59] would look at in the movie… with the voyeuristic 

[59:06] all that you read into Jimmy Stewart reactions 

[59:16] Let’s reedit this to create an emotion… let’s say 

[59:33] it is not really there… in the movie he looks 

[59:39] The Kuleshov effect allows you to 

[59:41] Some actors leave the emotional reaction 

[59:47] the narrative from love to hate without any 

[1:00:17] One very interesting technique could be 

[1:00:21] “method acting”… let’s call it “method directing”.

[1:00:25] The idea is not to explain to 

[1:00:29] but to put them into a state 

[1:00:32] Here is a simple but great example:

[1:00:35] When Hans Gruber falls to his death in die 

[1:00:39] do with Allan Rickman’s performance… he looks 

[1:00:45] Rickman was droped from a considerable 

[1:00:50] The special effect crew told Rickman that they 

[1:00:52] surprise, the dropped him at the count of two…

[1:01:03] Famously, Stanley Kubrick shot the Staircase 

[1:01:08] then again… and again… until Shelley Duvall 

[1:01:13] what you see here is not regular acting but 

[1:01:19] Effective… but … really mean.

[1:01:22] your actors for arts sake.

[1:01:30] Method Directing can do way more… it 

[1:01:34] a whole movie, by sharing completely 

[1:01:38] Here is a theory:

[1:01:40] written in a way that Deckard could be human or a 

[1:01:47] director Ridley Scott, Deckard is a replicant.

[1:01:53] police force to hunt Nexus 6 replicants that 

[1:02:01] All this is experimental and to assure his 

[1:02:11] He doesn’t have obvious super human abilities as 

[1:02:17] he is designed to withstand attacks from combat 

[1:02:23] Harrison Ford always pushed back against the idea 

[1:02:28] that Blade Runner would need a human protagonist 

[1:02:34] he had discussions with Ridley Scott that ended 

[1:02:40] Characters like Bryant and Gaff seam to treat 

[1:02:45] lack of respect… and the famous unicorn 

[1:02:50] a Replicant, but have to play along with 

[1:02:54] of his fate in case of a failure.

[1:03:01] to be clear that Deckard is a replicant, or 

[1:03:07] If you where the director… what would you do to 

[1:03:14] If Deckard doesn’t know he is a replicant – A 

[1:03:19] make him believe that he actually plays a human.

[1:03:25] might have ended in the agreement 

[1:03:29] To be clear, I don’t know if Ridley 

[1:03:32] be a brilliant way of guiding your 

[1:03:37] Sharing alternative visions of 

[1:03:41] Just imagine telling your protagonist that they  

[1:03:43] are the the antagonist and the 

[1:03:48] We will revisit “Method directing” in 

[1:03:53] Think about how you could use things like 

[1:03:53] get outstanding performances… or maybe you 

[1:03:53] Good general advice is:

[1:03:59] share and enrich your vision – give the actors 

[1:04:06] Be well prepared for every scene on 

[1:04:11] story and character development in mind.

[1:04:18] … and always be the captain of your ship. 

[1:04:27] The Next chapters will not be about fancy studios, 

[1:04:33] the ability to lock down parts of a city.

[1:04:38] Sistine Chapel, or a massive studio that 

[1:04:43] the Sistine Chapel… and you have the guts to 

[1:04:48] This chapter is for the mortals and dreamers… and 

[1:04:56] As an overarching theme, you should 

[1:05:00] In movies this is part of the concept and 

[1:05:05] by the art direction and costume departments. 

[1:05:11] avoided. This can be extreme or very subtile.

[1:05:14] the sets, in the costumes and props, and 

[1:05:19] in post. Beyond the movie itself… it can be 

[1:05:25] or even merch. Just like in this example of “the 

[1:05:32] Colors can be utilised to enhance 

[1:05:36] and violent world of the driver is shown in 

[1:05:42] and positivity is held in warm orange an brown .

[1:05:49] backgrounds in a metaphorical and literal way. 

[1:05:55] he takes on her palette, when Irene is pulled 

[1:06:02] The conflict of good and evil is symbolised 

[1:06:07] into intro, trailers, and posters.

[1:06:12] go with a change in the location, story, 

[1:06:18] If you have been around this channel you  

[1:06:19] might have realised that our episodes 

[1:06:24] That is true for their main parts, but 

[1:06:29] and Behind the Scenes .

[1:06:35] honey golden palette of candle light.

[1:06:46] The Macro episode has muted 

[1:06:55] The f03 episode the green turquoise tint 

[1:07:03] This shows that you can utilise palettes even if 

[1:07:08] sets and costumes. If you think of your next 

[1:07:13] it flow from there. Maybe you have a theme or 

[1:07:19] in cases like this, let the rest of your 

[1:07:28] A very simple tip for beginners is to go 

[1:07:32] mind. Look for locations and situations 

[1:07:37] meaning that they are handsome and not to 

[1:07:42] A back alley, a staircase, a facade 

[1:07:48] look so cinematic when shot right.

[1:07:52] New York or have amazing nature like a 

[1:07:57] in luck… chances are, you are not. I feel you.

[1:08:03] are for you to discover and even simple 

[1:08:07] circumstances. It can be almost anything… 

[1:08:19] Generally, places that have some perspective 

[1:08:24] layering your composition. As a filmmaker 

[1:08:29] can start by looking for a great 

[1:08:33] Just filming against a wall can be very boring 

[1:08:33] quality… like this wall of an arcade that we just 

[1:08:34] Lighting a public space usually means 

[1:08:38] and powering the lights can be difficult, too. 

[1:08:43] lighting as that will mean you can work with 

[1:08:49] and a decent camera can help a lot with that – 

[1:08:54] Given the right context, you can even think of 

[1:08:59] recreation we used an open reel recorder 

[1:09:07] Maybe you have friends or family that have 

[1:09:11] or special cars… pools with underwater 

[1:09:16] forrest or park not to far away… it is unlikely 

[1:09:24] the trick is to work the other way around.

[1:09:28] assets that are in your reach… develop 

[1:09:33] give you. Be creative… Think about 

[1:09:37] a scene… built a concept and a story 

[1:09:42] When choosing a location you should always 

[1:09:47] We like the look of the Elbtunnel in 

[1:09:50] and public. Would it be much better without 

[1:09:57] The Lights on the sides can be used to 

[1:10:00] do is to get in the right position.

[1:10:04] that in the chapter “lighting”.

[1:10:10] it the sound. If you need to record 

[1:10:14] allows you to do that as noise is virtually 

[1:10:38] Costumes are an integral 

[1:10:42] They sell the characters to the audience and 

[1:10:46] perceived. They can be a story inside the story… 

[1:10:55] they made these space guild suits out of 

[1:11:00] We would dare to say that Costumes 

[1:11:04] a cinematic image in low budget productions…

[1:11:09] a huge difference for a cinematic image.

[1:11:13] talent into a space suit… although you can…

[1:11:18] wears every day, but assembled in a way that 

[1:11:23] If you don’t have a great idea or specific 

[1:11:27] a good idea as the can cause Moire .

[1:11:31] we replicateded various costumes with very 

[1:11:46] Gorman costume we used a olive overall and 

[1:11:52] eBay… combining that with a vintage headset made 

[1:11:58] character was that I had my hair shaved off. How 

[1:12:05] For the Leon character in our Blade Runner 

[1:12:10] enhanced it by removing the arms and stitching 

[1:12:17] COP Derringer also know as “mother’s defender” 

[1:12:22] the movie sells the character, even when the 

[1:12:42] What would be the Bryant character without a 

[1:12:47] look? The simple solution … grow one.

[1:12:55] pattern of Bryants shirt… and, we got a holster 

[1:13:05] For this episode, It was quite a bit of effort to 

[1:13:10] jumper Hannibal wears in Silence of the Lambs.

[1:13:15] like the original on camera, 

[1:13:19] We ended up buying a vintage overall 

[1:13:23] to short for my 6 foot 2. Thank god that 

[1:13:28] Washing it with bleach a dozen times gave 

[1:13:33] printed the prisoners number in with 

[1:13:38] We mention all of this to encourage you 

[1:13:42] into costumes and props, small things can 

[1:13:48] See, if there is a company in your 

[1:13:52] and if there is not, or you have very 

[1:14:00] Make up falls in line with the costume… again,  

[1:14:03] we are not talking about effect make up or 

[1:14:08] awesome to put that into your production.

[1:14:12] just spray some easy to mix artificial 

[1:14:18] If you are not familiar with make up… usually 

[1:14:22] or wife can help to choose the right product for 

[1:14:29] Details are important and you 

[1:14:33] props, and make up in your thought process.

[1:14:39] as you possible can… and, don’t use 

[1:14:49] In cinematography and Photography, the artist 

[1:14:55] flat surface… your screen.

[1:14:59] for “contrast” … meaning the difference 

[1:15:07] The first artist to come to mind is Rembrandt, 

[1:15:11] scenes. This type of lighting is named after 

[1:15:17] Italian painter Caravaggio, already 

[1:15:21] and perspective in extreme and beautiful ways. 

[1:15:31] Lighting it is obviously a very complex subject… 

[1:15:37] as such. There are many different approaches 

[1:15:44] Film lights are lights sources that are 

[1:15:50] Lights that are not explicitly supplied by 

[1:15:55] lights, or lamps in a public building are 

[1:16:00] Lightsources that are visible in the frame – 

[1:16:06] as practical lights and as far as they illuminate 

[1:16:13] When we think of cinema, we often think of 

[1:16:19] and many scenes, old and contemporary 

[1:16:24] sometimes right out of frame – like here 

[1:16:32] or here in a Clockwork Orange. Historically, the 

[1:16:38] the low sensitivity of the film stock. The cast 

[1:16:44] of the demanding Technicolor process, the 

[1:16:50] always close to a heat stroke because the 

[1:16:55] temperature. The costumes didn’t help for 

[1:17:01] With technological advancements like higher 

[1:17:06] and more power efficient lights like HMI and later 

[1:17:12] about aesthetics than technical necessities. That 

[1:17:18] they are still absolutely necessary for high speed 

[1:17:24] these kinds of lighting became unfashionable 

[1:17:29] Some DoPs swear on a natural look, some go 

[1:17:35] and there are films that have been shot almost 

[1:17:41] some scenes are shot just with candlelight … 

[1:17:46] there is no right or wrong. It depends on the 

[1:17:51] Let’s get some inspiration from the greatest 

[1:17:56] John Alcott shot many iconic 

[1:17:59] Lyndon… The Shining… Clockwork orange, and 2001.

[1:18:09] Jacket with Douglas Milsome. Milsome is on record 

[1:18:16] so effectively with little or no light. Most of 

[1:18:23] was a very big suitcase for 2001- Still, just 

[1:18:29] Alcotts efficiency was very inspirational for 

[1:18:32] Milsome and Kubrick shot most of Full metal jacket 

[1:18:37] documentary look. Using super speed lenses wide 

[1:18:44] possible. Something that is easily outperformed 

[1:18:51] Roger Deakins is famous for complex setup 

[1:18:56] dimmed like he used excessively in Blade 

[1:19:01] find in many of his films like here in Skyfall.

[1:19:08] he seems to have fun with massive installations 

[1:19:13] Hyote Hoytema shots on large format film a 

[1:19:19] light. For this scene in Nope he used massive 

[1:19:27] Robert Richardson did similar lighting for 

[1:19:32] amazing that it is so obvious and is still 

[1:19:37] Hoytema used another approach to light the 

[1:19:43] This shot was films in daytime with a technique  

[1:19:45] called “day for night”. There is 

[1:19:50] Darius Khondji lit the faces in 1991 

[1:20:02] For Se7en Khodji created a very 

[1:20:09] Eric Messerschmid light the sniper scene in “The 

[1:20:14] lights that you see in the scene and some LED 

[1:20:19] those scenes for our free cinematography 

[1:20:24] complex setup but with very similar results, 

[1:20:30] different approaches. We used Erics work 

[1:20:40] simplicity that is at the heart of this kind 

[1:20:46] to beige recreated… even if you just have 

[1:20:51] Ridley Scott is a Director of course but is very 

[1:20:57] collaboration with Jordan Cronenweth brought 

[1:21:04] They approached lighting by 

[1:21:07] until they got the one light left that is 

[1:21:12] from Blade Runner uses one big light from 

[1:21:17] reflects the light to fill the shadows. BTW… 

[1:21:25] Cronenweth… the son of Jordan Cronenweth … 

[1:21:33] Of course one can rely on natural light like  

[1:21:36] Emmanuel Lubezki did for The Revenant … 

[1:21:41] luck… and using a lot of post to get 

[1:21:46] What does this all mean for a 

[1:21:46] is a recipe for your own approach.

[1:21:48] and that can be intimidating… at 

[1:21:53] It is almost dangerous to give “rules of 

[1:21:58] There are so many different situations and 

[1:22:03] from gritty street lights and car 

[1:22:07] and there are so many techniques and qualities 

[1:22:13] color schemes… it is a wide field that 

[1:22:18] themselves and there are many great resources 

[1:22:23] But let’s give you a tiny bit to work from.

[1:22:27] Start with what emotion a light evokes 

[1:22:32] How does the light look, what 

[1:22:37] is it soft… or hard… from what 

[1:22:42] What is the justification for a light… 

[1:22:47] This is called motivated light.

[1:22:51] and blocking… will your the movement 

[1:22:55] You don’t need a truckload of light for a 

[1:22:59] even available light can do magic if you know 

[1:23:04] out of a suitcase using film… you can… well… 

[1:23:11] If you rely on available light, you are 

[1:23:16] style as natural light tends to change 

[1:23:21] limits the predictability of a shots look. 

[1:23:28] light will add a lot of control and freedom 

[1:23:36] Sometimes available light like street lights 

[1:23:40] car … and just adding something very 

[1:23:45] If you have a situation like a build set in a 

[1:23:50] and lights can be very handsome, not 

[1:23:55] Create depth and shape with lighting…

[1:23:59] cinematic than a flat light from the 

[1:24:03] do it in an interview rarely looks cinematic.

[1:24:10] the simplest of setups… hazers are cheap and 

[1:24:16] remove smoke detectors for your shoot, and 

[1:24:21] If you look at a scene in a movie and you 

[1:24:25] figure out how it was lit… or at least, how 

[1:24:30] garage that will produce a similar result.

[1:24:35] of your talent… or for lack of alternatives 

[1:24:40] What quality and direction has the light? 

[1:24:45] a hard or a soft shadow and in what direction. 

[1:24:51] the ambient light. What color does it have?

[1:24:56] a very hard light, use a point light source, 

[1:25:02] and/or add a large diffusion. Use grids to 

[1:25:08] the time you are already there – the eye is 

[1:25:17] The first time I tried to emulate the lighting of 

[1:25:27] and for a first time, I think it came out 

[1:25:33] using what I had… and that should encourage 

[1:25:35] to light a whole scene or group and not just a 

[1:25:40] to use much more powerful lights at a larger 

[1:25:49] Importance to a cinematic image is … very 

[1:25:54] setup is very complex or expensive…

[1:25:59] recreations over the years proved that.

[1:26:05] serve the story that you try to tell.

[1:26:52] Having all ingredients to make a film in place, 

[1:26:58] Of course you would start a film by 

[1:27:02] but as we are only talking 

[1:27:05] that out… and start by

[1:27:09] Just like with a painting, a composition 

[1:27:17] the frame. Unlike a painting a film 

[1:27:24] Composition describes your image in 

[1:27:26] To create a composition you put your 

[1:27:31] desired positions. This called Staging.

[1:27:37] dynamic when characters, props or the 

[1:27:41] often also referred as blocking but staging 

[1:27:47] The composition and staging can be used 

[1:27:53] imply power relations, show alliances, help 

[1:28:00] many other things without a line of dialog.

[1:28:07] position of characters to each and 

[1:28:11] a character to himself. Simple body language is 

[1:28:18] for example by clever placement of mirrors putting 

[1:28:24] Composition can be done very formal 

[1:28:29] It is the filmmaker job to tell the story 

[1:28:34] certain style of composition and staging 

[1:28:38] like Wes Anderson’s obsession with 

[1:28:43] Staging is not only useful for 

[1:28:46] but it can also be a great tool to 

[1:28:51] We have spoken about “Method directing” 

[1:28:56] A director can put an actor in a relaxed or 

[1:29:01] a result the actor has less “acting” 

[1:29:06] Practically this can mean to put 

[1:29:10] him or her feel unsupported and vulnerable,

[1:29:16] behind a desk and therefor in a place of power…

[1:29:21] emphasise with the character on a basic 

[1:29:28] The Silence of the Lambs is an example for this. 

[1:29:33] of the time while Lecter is standing. In this 

[1:29:38] position – he is the teacher… he is in charge. 

[1:29:42] and ads to Starlings vulnerability. Lectors 

[1:29:48] Starlings face, implying his powerful influence on 

[1:29:55] the personal space of the camera and therefore 

[1:30:01] realise when analysing the staging, is that the 

[1:30:06] view to a first version view… but that is only 

[1:30:10] the audience, are Starling and we are the 

[1:30:15] This is the power of staging.

[1:30:17] this episode… when Starling is absent, I look into 

[1:30:24] the close ups always look into the camera. 

[1:30:31] but it is actually quite difficult 

[1:30:36] It makes sense to give newcomers some 

[1:30:41] A good starting point is to 

[1:30:44] impact utilising design principals of visual arts.

[1:30:49] composition work.

[1:30:50] If you are a photographer, 

[1:30:54] this might come very natural to you, but 

[1:30:58] formalised. We encourage you to invest time 

[1:31:04] to throw them out of the widow, too. 

[1:31:09] One formal form of staging in a 

[1:31:30] This is usually used for dialog 

[1:31:34] One character always looks to the right… one 

[1:31:40] the characters look at each other. This is 

[1:31:45] one side of the imaginary 180° line.

[1:31:51] the eye line is broken… these 

[1:31:56] The camera and characters can cross the 

[1:32:01] that crossing happening. You could also break 

[1:32:06] audience. The most famous example for this is 

[1:32:12] that we showed in the camera comparison earlier. 

[1:32:17] make the audience experience Jacks confusion. The 

[1:32:24] only switching the side, but also the position 

[1:32:30] Beyond dialog, the 180° rule can 

[1:32:35] help with spacial orientation. 

[1:32:39] fraction B shoot to the right… these characters 

[1:32:45] you can instinctively tell which character 

[1:32:51] The highest form of staging is to combine a 

[1:32:57] Spielberg is a master of this technique. His 

[1:33:04] different shots, each with their own compositions, 

[1:33:09] inserts, wides, close ups, all flowing together. 

[1:33:12] for your actors and your crew. Blocking, 

[1:33:18] choreographed to make this work… but if it does… 

[1:33:24] always shoot some alternative angles so you 

[1:33:30] Generally, a good staging enhances your 

[1:33:35] your audience unintentionally.

[1:33:39] and stage your scene to tell your story?

[1:33:58] A huge ingredient in the magic sauce 

[1:34:03] image turns into a phantasic image.

[1:34:09] does not mean that you have to mimic the 

[1:34:15] an aesthetic that works in context.

[1:34:21] of our grades using and abusing the 

[1:34:27] With or without the typical artefacts, 

[1:34:32] from a subtile shift in the colors up to 

[1:34:40] As mentioned we will leave the edit out of the 

[1:34:44] also leave out complex CGI that can basically do 

[1:34:50] that is a big IF of course.

[1:34:54] Like extending you set… putting in layers… 

[1:35:00] elements… our episode contain a lot of compositing 

[1:35:06] some of the FX for this episode in a minute. But 

[1:35:13] When you see a movie and you are 

[1:35:13] Movies look different than reality… 

[1:35:18] the cinematic process creates a poetic 

[1:35:23] Black & white film, a technicolor color 

[1:35:28] Each process and chemistry had its own look … 

[1:35:32] cinema resembles what you see in your daily life. 

[1:35:40] Cinematographers could change how a certain stock 

[1:35:45] and many other techniques… including post 

[1:35:50] process and color timing. Imagine Saving 

[1:35:55] desaturates the colors and increased contrast.

[1:36:03] with computers gave filmmakers way more freedom 

[1:36:08] original character of the film stock.

[1:36:13] While different sensors can 

[1:36:16] this doesn’t have as much impact on the image as 

[1:36:24] Most cinematic images in the digital age, 

[1:36:29] specific way – this can be subtile (the 

[1:36:35] process “grading”. In the professional 

[1:36:40] This can lead to very unique looking images, that 

[1:36:45] Still, there is often a longing for the poetry 

[1:36:51] extreme grade back and apply a film emulation 

[1:36:58] you can see it as the power of reality… just like 

[1:37:03] to deny the emotional impact that the analog world 

[1:37:09] Mad Max: beyond thunder dome now. If you didn’t 

[1:37:15] Denis Villeneuves Dune was shot digital on Arri 

[1:37:21] and then scanned back to digital. When you look 

[1:37:27] weaving, meaning that the image jumps a tiny 

[1:37:34] This process seems excessive for something that 

[1:37:40] will use film emulation software like Dehancer.

[1:37:46] as it adds life to digital images…

[1:37:51] but you can see another artefact: Halation… 

[1:37:57] boundaries of over-exposed areas.

[1:38:02] its magic and Dune part three will be 

[1:38:07] If you are an upcoming filmmaker. chances are you 

[1:38:14] to do the grading, film emulation, and compositing 

[1:38:20] also fun. Everything you see on this channel is 

[1:38:29] I love the look of the older movies, they 

[1:38:34] want to take any frame from them and hang it on 

[1:38:39] movie of even put yourself or others into them 

[1:38:45] by recreating the lighting, sets costumes etc.

[1:38:52] we work with green screen, but you still need 

[1:38:57] To get to the look of the 

[1:39:01] It basically does what they did with Dune,  

[1:39:03] printing and rescanning the film … 

[1:39:08] We love Dehancer and have used it on 

[1:39:12] years… so we speak with quite a bit of experience.

[1:39:15] Dehancer is a Plugin that is available for 

[1:39:21] Adobe Premiere & After Effects, and Final Cut Pro 

[1:39:25] There is also a stills version for 

[1:39:29] Affinity Photo, and there is even a 

[1:39:34] For our task it is great that we can use 

[1:39:38] inside Resolve and in Aftereffect… it 

[1:39:43] So, what does Dehancer do exactly?… well, it is 

[1:39:50] Together these tools create a very sophisticated 

[1:39:55] than 60 film profiles of different stocks